Soundexploration.
Sonic Kitchen is research in sound with the focus on the deconstruction, dismantling and decomposition of analogue and digital, sampled and live recorded
material.
Balancing on the edge where tone and sound divide, Sonic Kitchen create a steady flux of miniature innovations and sharply
cut sound sculptures.
As with other naiv super artists like dis.playce and Stephane Leonard who mix genres, overcome boundaries and white noise
transitions the perusing on arrangements, structures and textures comes to your ears.
Sonic Kitchen take a look at the world of sounds through the musical microscope. They make audible what usually would
disollute without a trace.
Crackings and crunches on top of layered atmospheres, clatterings, microphones attached to forks and table tennis balls.
Field recordings and synthesizer citations... Everything can become a source of sound with Sonic Kitchen. Often just one step
away from utter chaos they never loose contact. They are constantly reshaping what comes to their ears for the pleasure of
the interested listener who enjoys being confronted with even the most abstract structures. Disturbing wallowings, crunchy
vibrations, strong potions, energetic bashes, then again solemn wanderings, totterings and almost collisions - that's how the
pieces progress like little fire works which freeze abruptly moments away from their climax just to be cropped down from the
heavens with even greater playfulness and attention.

REVIEWS

Vital Weekly #512

When I read the name Sonic Kitchen and hear their release, then I can't help to think that Dennis Tan and Marc Pira turned over the kitchen into a sonic workplace, even when it is nowhere mentioned in the press text. 'Amplified Objects On Table, guitar' is what Pira plays whilst Tan plays 'field recordings, sine, laptop live sampling'. Two tracks here are studio tracks and two are live recordings. To a large extent Sonic Kitchen are a somewhat raw musique concrete group, taking electro-acoustic sounds as their basic materials, and feed them freely into the laptop to make all sorts of alterations and processing. In the studio cuts this is done rather nicely, in a more subtle and softer, a bit microsounding way, whereas the live pieces are more chaotic, disturbed and sometimes less concentrated. Sounds bounce around, collide against each-other and sometimes are shot away into the deep far end. I'd say it's all together lesser in the areas of micro-sound, and more on a cross-road where
improvisation, composition and electro-acoustics meet up. Quite intense at times, sometimes they miss the point, but with original intentions. (Frans de Waard)